How to understand the literary style

The literary style of each era is different, and the literary style is the essence of the culture of an era and the spiritual outlook of a generation of literati.

Wind bones, refers to the upright spirit; tenacious demeanor and temperament; The style of writing, painting or composition has personality and strength; refers to the character of a person, his character; refers to uprightness; It means that the upright rhetoric and the cool spirit are combined into the "style and bones" of the poem; It refers to the style of literary works that are vigorous and chaotic.

The words of "Jin Shu Helian Bo Ji Ji": "However, his instrument knowledge is high, his style is strange, and Yao Xing."

Indulgent, Song Zu.

Smell it and be moved. ”

Wind and bone is the basic concept and term of ancient Chinese literary theory, which is essentially an aesthetic requirement for the content and rhetoric of literary works. The most complete and systematic poem with "wind bones" is Liu Xian's "Wenxin Carving Dragon".

The style of the literati is the steadfastness of Ji Kangning's death.

More than 1,700 years ago, in the Wei and Jin dynasties, although the smoke continued, the war continued, and the people suffered, it was a brilliant era in the history of literature. From "Jian'an style" to "Wei and Jin style", many outstanding writers have emerged. And the main spirit of "Wei and Jin demeanor" is embodied in the representative of the "Seven Sages of the Bamboo Forest" - Ji Kang.

Ji Kang is the person who lives the most clearly and freely. During the reign of Sima Zhao, Ji Kang was unwilling to go against his will and befriend Zhong Hui, a talented but ruthless traitor, which led to his tragic end. He ended up dying from two things:

Too famous, too straight in character. But Ji Kang's life is so remarkable.

In that verdant bamboo forest, there are too many moving stories left. Ji Kang is a beautiful man, talented, good at making friends with like-minded people, and approachable. He struck iron in the bamboo forest, and he was in full swing; Howled with Ruan Ji, drank with Liu Ling, and chatted with Shantao, Ruan Xian, Liu Xiu, and Wang Rong.

As representatives of excellent readers, they became beautiful conversations for a while, and Zhulin became the spiritual leaders of all readers.

Nearly twenty years have passed. The influence of the Seven Sages of the Bamboo Forest was increasing, and Sima Zhaohong did not allow such cultural forces to influence his rule, so he decided to dismantle their organization. Shantao's path to politics began the disintegration of the "Seven Sages of the Bamboo Forest".

The Tao is different, and they do not conspire with each other. also follow their own aspirations. Shantao's several recommendations became the fuse for Ji Kang's death, and Ji Kang's two letters of renunciation were written so impassionedly, but they also laid the groundwork for his own tragedy.

In Sima Zhao's eyes, Xiucai wants to rebel? So the killing machine was moved.

On the day of Ji Kang's execution, he was dressed in a long robe, and the slow branches showed the dragon and phoenix qualities, and he used his life to complete the final singing, expressing his unyielding will. The three thousand students came from sorrow and mourned the spiritual leader in their hearts with their own tears.

The literati of ancient times had their own style. They did not succumb to power, did not give up or be discouraged in the face of difficulties, lived in a humble house without being humble or arrogant, and won the praise of future generations with their unswerving loyalty, and became the spiritual strength of the Chinese nation from generation to generation.

"Wind bones" is an important concept in the history of Chinese literary criticism, from the Southern Dynasty to the Tang Dynasty, it has been the main criterion for literary evaluation, the Jian'an era to five-character poems-based literature is known for its strength and strength, Hu Tuanbang was respected as a model by later generations, which is often mentioned in the history of literature "Jian'an style or eggplant bones". The term wind bone was first used in a large number of character comments during the Wei, Jin and Southern Dynasties, and generally speaking, "wind" refers to spiritual temperament, and "bone" focuses on the shape of the phalangeal grid, and the two are inseparable, and they are combined into one wind bone. Later, it was also used in the theory of painting and calligraphy.

As for the theory of wind and bones in literary criticism, it should be described in more detail in "Wenxin Carving Dragon". Wind is the vitality of the article, is an intrinsic, can infect people's spiritual power, with the wind, the article can be vivid and vivid, of course, "wind" is always more virtual, it is related to the content and emotion of the work, but does not refer to the content and emotion itself. The bone refers to the expressiveness of the article, that is to say, the article should be strong and powerful, and "bone" is a more practical concept, which is directly reflected in the use of language; The language is accurate, concise, and clear, and the article can be powerful.

The concept of wind bones emphasizes integrity, and they can be understood from different aspects, but they cannot be viewed as two concepts.

Summary. The basic category of ancient Chinese literary and artistic theory is essentially the aesthetic requirements for literary and artistic works. The term "wind bones" was already an idiom during the Wei, Jin, Southern and Northern Dynasties. It is first used to evaluate people.

The basic category of ancient Chinese literary and artistic theories is the aesthetic requirement for literary and artistic works. The term "wind bones" was already an idiom during the Wei, Jin, Southern and Northern Dynasties. It is first used to evaluate people. Envy luck.

Later, the word wind bone also began to be used in the evaluation of writing and painting, used to describe words and paintings with strength, personality, pure and sharp brushwork, poetic and fine work. In the preface, Xie He put forward six criteria for evaluating paintings, one of which is vivid, and the other is the use of bone brushes. Later, "wind bones" to Liu Xian's pen and thoughts, developed into using it to comment on the text, with "wind bones" to comment on poetry** the most complete and systematic is Liu Xian's "Wenxin Carving Dragon", in its "big and thoughtful" Kuang Shiqi "Wenxin Carving Dragon" in the "Wind Trembling Li Bone" chapter, the wind bone is late to leak a detailed analysis.

On the basis of previous research, this paper classifies them, focusing on the appreciation of "wind bones", and summarizes the reviews and paintings as auxiliary for the search and sale.